10/23/2013

INTASC STANDARDS
1.

Content~

2.

Student.Oe~opment

3 . Muttipfe Instructional StratcWes

4 . Instructional P1anningSkiUs
5 . Assessmentof St udentlearntrc
6 . SchootandCornmunitylnvolvement

OBJECTIVES

WHAT IS IT?

1. After compkrtingthe PowerPoint students will be able to com pk!te (sotve)the

Coooerative Leaming Instructional procedures whereby learners work together kl

small groups and are rewarded for theif coUective accomplishments

pu zzle activity with lOO'Jl, accuracy.

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2. Given the cooperative leamir@:characteristicsstudents will be atMe to explain

Teams typically have fOUf to si.11 mem bers whtch collectively lea m or m asl:ef
information the teacher has either previously presented or has assigned as a

project/ task

{list) examp5es for all four of the characteristics.

3. After goingthrotqfl the slides on the variations of cooperative ~arrringstudents

WHATS THE PURPOSE?

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will be able to identify each on es characteristics.

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Encourages learners to work together tor both a common and individual go&s

> All for one and one for all" mentality

COOPERATIVE LEARNING CHARACTERISTICS:

1) MAKE UP OF THE GROUPS/ TEAMS

1. The way the groups and teams are made up

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Groups must be mixed

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This mixture of groups (Heterogeneity) is promoted for 3 reason:

Ex) gender, academic ability, race. etc.

2. The kinds of tasks they do

3 . The groups' rules of behavior
4 . Their motivation and reward systems

,.Cooperative Learning is based on the Humanistic School of Thougl"lt

,,..This puts the focua on the importance of personal and social developntfll"lt.

, Each member gets an equal opportunity to learn

, Students at k>wref ability levels a re more likety to improve in mixed groups

10/23/ 2013

2) KINDS OF TASKS

3) RULES OF BEHAVIOR

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The most common form has each team member master the material previously
presented by the teacher

Prnmotes
,. fndividuaJ responsibility
,...Accountability to onesert and the team

,.Support and encouragement of team member

- OR-

,.Peer helping and tutoring

,.Cooperation

> Teams cooperatively work on group projects

4) MOTIVATION AND REWARD SYSTEM

VARIATIONS ON COOPERATIVE LEARNING

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StudentTeams, AchievementOivisk>ns(STAO)

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Teams, Gam es, Toumaments{TGl)

Marks are based on the team's achtevement

, This system tends to create positive peer pressure for students to do well and
help others do well as weU

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Team-Assisted l ndMdumization and Team-Accetefated l nstrudion (TAI)

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Jigsaw

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Cooperative I n~ Reading and Composition (CIRC}

STAD

TAI
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Out of the other variations STA.0 is the simplest to understand

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Student teams must master some content which is typically first presented b;' a
teacher

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An individual's score is compared to their previous worll. and depending on how

well they soore the lllOfe points awarded to their group

TGT
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Combines cooperative lea ming and individually paced instruction

,. lndMdually paced insttuc:tion: Students do not stay together academically, but through the
material they are set to master at their own pace

Team members check each other's work and more advanced students serw as tutor

JIGSAW

Same procedure as STAO but instead of giving out individual grades teams

Students become e:&perts in smaller subject: areas then come together with their team so
that each person shares their expertise with the other members in their group

compete against one another

CIRC
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Mainly used for reading and composition

Students work in pairs with comparabte proficiencies and teach the other

new skills

10/ 23/ 2013

5 FORMS OF COOPERATIVE LEARNING & THEIR

CHARACTERISTICS
STAO

TGT

'

TAI

Jigsaw

CIRC

GOOD COOPERATIVE LEARNING LEADERS

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Proficiency

testing of
students, team
assignment

Presentation

Presentation

ot"'iiii0rm8tion ofin'i'O'frTI'3tion
Individual
student
quizzes

Individual but

team.. assisted

study

lndivtduats
work, experts
plan, & give

Pairs work and

teams work

pr~s

This learning strateg, is demanding to teachers

, Presenting information
,.Creating suitable group and independent WOfk
,.Establishing and maintaining cooperating ~ps
, Monitoring individual and group progress
...Convening and teaching small groups of learners
..-Devising and maintaining progress records
..- Ptovlding rewards
,. Equally as soltd of a presenter as facilitator
..- High level of organizational skills
..-Great juggler

Individual
student
quizzes

lndivtdual
student
quizzes

Individual
student
quizzes

WHEN SHOULD IT BE USED?

GOOD COOPERATIVE LEARNING

Preparation

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You must provide information in the most effective Wflt

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Students must be prepared to engage in group work

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Often... but not always

... Possibility of boredom

Delivery

, Set the team goals

, Quiz the students

,. Pfepare students fol' teamwOfk

, Score quiues

... Give the teams the assqo-iment

,.Recognize team

,. Monitor the teams

accomplishment

..- Different kinds of objectives are best for different instiuctionat alternatives

,. However, if the teacher feels the class needs to come together cooperative
learning is the wwy to

go

Clo&Ure

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Remind students of what they learned

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Relate new learning to pastorfutureleaming_- - - - - ~ - -

Provide opportunity for practical use"of Thio~;,;8li0n

LIMITATIONS
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Team members must not simply share answers but expUiin how the derived the

High achievers need to care/ nurture low achievers

Team members are accountable to the team

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Team members m ust stay on task

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Individuals must get ak>ng with one another

A GROUP AC1M1'YI

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Reading Standards for Literature/

Integration of Knowledge and Ideas/
Standard 7/ Grade 7. Compare and
contrast a written story, drama, or
poem to its audio, filmed, staged,
or multimedia version, analyzing
the effects of techniques unique to
each medium (for example, lighting,
sound, color, or camera focus and
angles in a film}.

Common Core Standards

Worksheet

Writing Standards/ Production and

Distribution of Writing/ Standard 6/
Grade 8. Use technology, including
the Internet, to produce and publish
:-writing and present the
relationships between information
and ideas efficiently as well as to
interact and collaborate with
others.

Reading Standards for Informational

Text/ Integration of Knowledge and
Ideas/ Standard 7/ Grades 11-12.
Integrate and evaluate multiple sources
of information presented in different
media or formats (for example, visually,
quantitatively} as well ~sin words in
order to address a ques~ ion or solve a
problem. :
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Reading Standards/ Craft and

~tructure/ Standard 5/ Grade 8.
5 'compare and contrast the
structure of two or more texts
and analyze how the differing
structure of each text
contributes to its meaning and
style

Reading Standards for Informational

,.
Text/ Integration of Knowledge and
Ideas/ Standard 7/ Grades 11-12.
Evaluate the advantages and
disadvantages of using different
mediums (for example, print or
digital text, video, multimedia} to
present a particular topic or idea.

Give Students Practice in Collaborative Writing

b\ue

My most recent work has involved interviewing teachers who are attempting to use technology to break
down barriers between cultures and set up true international collaborations. Crossing time zones has
never been easier; the ease of communication afforded by the Internet has enabled teachers and their
students to meet and work with their peers all over the world . The expecta tion that students will be
able to work collaboratively shows up in curriculum documents around the world, so it makes sense that
teachers in the United States are linking up with teachers in other countrie s to collaborate on projects.
Although standard ized assessments continue to be based on individual wo rk, we know that our students
will, with rare exceptions, be expected to work collaboratively on projects after they graduate. And
those projects will frequently involve shaping and writing texts with others.
The famous Flat Classroom project, created by teachers Julie Lindsey and Vicki Davis, is an example of
how international student-to-student projects often center on students creating texts together. One
classroom, for example, may provide raw video footage that students have shot related to an assigned
topic. Another classroom half a world away may then take that raw footage and edit it into a meaningful
video .
Learning to piece together a storyline from raw footage helps students understand the concept of
sequencing (including flashbacks and flashforwards), which is a key part of storytelling. In addition, as
writing in a digital age has become more collaborative (see Wikipedia, fo r example), seeing how
different teams of creators stitch together the raw footage into different narratives illuminates the
power of multiple ideas and points of view.
The point is that teache.rsn'e'edto give students time and opportunity to write together. A simple
strategy to start practice with collaborative writing is to have students, in small groups, circle interesting
words they find in some text-and then challenge them to collaboratively write a poem based on the
words that they have chosen together. I've discovered that some of the most effective techniques for
getting students ready to read and write in a digital environment do not even involve new technology.

Give Students Practice Working with Informational Texts

Frequently, international classroom collaborations involve having students read and collaboratively
build nonfiction texts, such as biogs or wikis. The old-fashioned research pa per may now appear as a
vibrant collection of links woven together with text describing the topic be ing researched. And the
traditional textbook is being transformed as teachers assign students to write their own textbooks
on line .

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For several years, Garth Holman has had his 7th grade social studies students at Beachwood Middle
School near Cleveland, Ohio, work to create their own world history textbook. Holman and his students
have transformed the traditional textbook into a vibrant, living document t hat is viewed by other
students throughout the world . At the same time, the students have learned how to make good choices
about the sources of their material. Their online textbook is an evolving document, demonstrating to

students that knowledge isn't static. By building on the work of classes t hat have gone before them, the
students learn about the malleable and, ultimately, collaborative nature of texts, even nonfiction ones .
In many of the international collaborations I have studied, the focus is on nonfiction reading and writing,
with teachers selecting on line texts that focus on a certain topic. For exam ple, two teachers may create
an internationa l collaboration around a unit on oceanography. One teache r may select and bookmark
biogs written on t opics related to the ocean. Groups of student s are the n assigned to read these
preselected biogs and comment on them . Having students read biogs from across the world is a
common way to start international collaborations .
Biogs from institutes of oceanography, such as the Scripps Institution of Oceanography in San Diego,
California, and the South African Association for Ma rine Biological Research, to name two examples, are
just a couple of keystrokes away. These complete ly current accounts of ha ppen ings in the field of
oceanography-ca n be not only the sources of the most up-to-date trend s of the profession, but also the
venues for practicing how to navigate the blogosphere .
Some teachers create collaborative research projects in which students who are far apart geographically
contribute data from their respective homes. When studying cities, for exa mple, each classroom might
contribute data regarding local industry, recreation, and community de mographics .

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Give Students Practice Reading Screen-Based Texts

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Some of the new media cl assroom activities that I've observed focus on he lping students gain practice in
a key skill advocated by the Common Core standards: the ability to read texts closely-to be text
detectives. As students enter a world in which they will do mu ch of thei r re ading and writing on a
screen, it makes sense to start by looking at non print texts, such as in the genres of video, music, and
visual art.
There are actually cl ose parallels between screen -based readi ng and pa ge-based reading, as I've
discovered working with my classes of preservice teachers on some close-reading activities using film.
Starting with an idea suggested by media educator Frank Bake r, I show the first few minutes of the
opening episode of the television series Lost without providing any introduct ory comments . Then

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students break int o small groups, and each group is provided with a descri ption of a film element (see
"Prompts for

C~ o se

Reading of Nonprint and Print Text" on p. 41). For exam ple, they may be assigned to

look closely at the lighting or to listen to the music or sound effects. The th eme of Lost is the epic human
battle between good and evil. So the students who are assigned to the lighting group always point out
how the scene begins in darkness and then, as the main chara cter regai ns consciousness, he moves
toward light.

After doing this exercise just one time, many students report t hat they see the video clip in an entirely
new way. "I didn't notice that sound effect the first time we watched th e scene," they'll report, or
"Looking just at the editing made me realize how carefully the scene wa s planned ." They can pick out an
amazing level of detail in a scene when they are concentrating on just one element . Students realize that
they may have typically

watc ~d_yj d~ o cenes

on a surface level-for exam ple, focusing on the plane

crash that opens the Lost ~pisode. Paying attention to one text ual element elevates their viewing to a
new level.
We then move on to other kinds of texts. Soundtracks from fil ms make great texts for this exercise
because many of them ~ nclude music with no lyrics. I've often used Dave Grusin's beautiful "Theme from

On Golden Pond," asking students to list words that come to mind when listening to this work. Students

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rarely recognize at first what film this song is from, but it's amazing how th e words they generate-

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water, family, transitions, rebirth - echo the themes from the fi lm. After I reveal the source of the music,
we talk about how a composer can make intentional use of textual elem ent s-for example, very high
notes on a piano to signify water.
Finally, we transfer to a print text. Copying the film activity, we read alo ud a scene in a text we are
studying and break into small groups that concentrate on just one element of the text-for exa rn, ple, the
author's use of descriptive words, dialogue, or literary allusion . Once stude nts are able to perceive and
analyze the details evident in many different kinds of texts, we are movi ng toward the goal of close
reading, no matter what kind of text they read.
Prompts for Close Reading of Non print and Print Text

Film Clip
Oesc11be one 01 niore d~ta i l vou aie
seeing 1n rhe hirfl d ip related to

D&scnbQ one or more details yoo are

eeing 1n the art retatad to

Visua l Art

L.ght1ng

Cornposf11or1

Edit<ng

Coklr

Shot composiuon

Light

Costumi n~

Point of vim"!

Set design

Brush strokes

Sound effac1s

Music

Print Text

Describe one or more details you are

flea"O{l ln tl'le music relat11d 10

Describe one or more details you are

f111<1111g In tM text In terms of

lns11umon1atioo

Lnerary Allusion

Tempo

Charactei

Rhvthm

DialOQUa

Dynamics

Descrip tive \Nords

Intensity

Leng1h of senter.c"s

Give Students Practice in Digital Writing

Anyone who has ever written for online publication knows that screen-based writing presents different
challenges from those involved with page-based writing. For example, onli ne writers need to understand
when adding a hyperlink assists the message and when it detracts; they also need to consider graphic
design and layout. The teachers I have observed spend time teaching th eir st udents to understand
writing for online publication, including all the opportunities that such w rit ing provides.
One of the assignments that I have done with preservice teachers-and have seen them go on to try
with their own students -;-:.~:~~-Multigenre Autobiography. Th is assignm ent requ ires students to use
PowerPoint, Prezi, iMovie, Voicethread, or any number of such platforms t o put toget her a presentation
of texts from many genres that have shaped their lives. By doing this tas k, students get a chance to
examine the ways they have been influenced by a variety of different ki nds of texts and to compare and
contrast the opportuni! ies that each kind of text inherently offers. By creating the autobiography in a
nonprint-dominated medium, students also practice digital writing .
As part of the assignment, students present their final autobiographies to t he whole class and ta lk about
the key pieces of music, art, video, print fiction, and print nonfiction that have shaped them as human
beings. It is amazing to see the variety of genres that have infl uenced th em -from very early books they
remember, to special films they shared with their parents, to favorite television shows and songs. I
remember well the muscular shot put thrower who described in his auto biography how much he still
loves to watch movie musicals because that's what his parents watched w ith him when he was growing
up. Or the 20-year-old woman who was completely engrossed with social networking via Facebook and
Twitter and yet was most powerfully shaped by the music of t he 1960s-texts that were created
decades before she was born .
Going through this exercise is a kind of postmodern adventure as we de myst ify various kinds of t exts
and help students see our commonalities and differences as human beings who have grown up with a
huge smorgasbord of texts.

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